David Baay

Interesting, My experience with hardware mixers is pretty limited and I hadn't ever encountered that. 'gate every FX in the signal path' is kind of an odd way of describing what's happening. You're gating the signal (from a clip in CbB or from a tape in the analog world), and that gated signal is passed on to the next effect if there is one. So all the FX see an altered signal, but their behavior isn't directly affected by the gate except to the extent that they might respond differently to the altered attacks and decays in the signal.

I meant only to compare FX Bin signal flow to hardware inserts.

Gave it a go both before and after upgrading Melodyne Editor 4 to 5 that I hadn't yet installed, and could not reproduce a problem. I also tried with Ripple Edit - All engaged and that didn't cause a problem despite all the clips becoming selected when I clicked on one. Might need someone to share a problematic project to see if it's project-specific.

I start pretty much all my projects at 1:01:000 unless they start with a partial 'pick-up' measure, and have only ever encountered a few specific issues with external hardware synths needing time to process a patch change or MIDI tracks with a positive (early) Time Offset entered. It shouldn't be a problem in general. The OP mentioned using the Arranger which makes me think this might be related ('Select Events with Sections' option):

Hey, Chuck, I'm not understanding the distinction you're making between the way CbB handles Insert FX and the way a hardware mixer handles them. Plugins in FX bins are acting as a series of Insert effects (i.e. the entire signal goes through each FX in turn before being returned to continue on it's way to the track's output) as opposed to a Send FX (i.e. a copy of the signal is sent on a parallel path to a bus with the FX on it before re-joining the track's output on the Master bus). If a hardware mixer has multiple insert jacks per channel, those inserts operate in series just like CbB's FX bin. If the mixer has only one insert per channel, you have to connect multiple FX in series externally (or use a multi-FX processor).

John mentioned this might be due to having Ripple Edit - All engaged; has anyone checked that?

Like many users with higher-end digital pianos, I often use hardware piano sounds in preference to VSTis. I will respectfully disagree with John and say that the best hardware is generally superior to the best plugins in this realm, and the Yamaha NU1 is certainly among the best. Are you direct-monitoring the Yamaha's output or input-monitoring back through an audio track in CbB and out to a monitoring system? If the latter, possibly you are recording both MIDI and Audio, and getting phasy sound from the layering of the real-time MIDI driven output with the recorded audio on playback. SOP for working with a hardware piano/synth is to record only the MIDI initially, edit it as necessary to perfect the performance, and then arm an audio track to record it and mute/archive the MIDI track after recording the audio. Most of the other setup issues that would cause echoing (e.g. the piano transmitting on two channels or connected via both USB and DIN MIDI ports) would manifest while playing live as well as on playback. In any case, make sure you have the Input of the MIDI track set to a specific port and MIDI channel of the Yamaha to avoid recording duplicate MIDI events.

Screensets don't have to be locked to maintain different track visibility settings; each screenset has independent settings. But I can't get the Track Manager dialog to be out of sync with the Console view as shown in your screenshot other than by having uncommitted changes.

Session drummer does not differentiate MIDI input channels, only note numbers; any of the twelve pads will respond to any of the 16 channels. But it does offer 12 separate stereo outputs assignable to the twelve 'channel' strips. I assume when you say you used 8 tracks initially that you had CbB create individual instrument tracks per output for 8 of the 12 outputs. So you can add 4 more, and assign the instrument 'channels' in SD3's mixer view to the separate outputs using the drop down at the bottom of each channel (this does not happen automatically). Each channel/pad in SD3 can host multiple instrument sounds differentiated by note number but all the instruments on any one channel/pad will share the common audio output assigned to that channel. You can add a new instrument track by right-clicking in the Synth Rack, and choosing 'Append Instrument Track', but you have to do the SD3 mixer output channel assignment and the Instrument track's audio input assignment manually. This is unique to SD3 because it doesn't automatically assign the strips to independent audio outputs the way a 'normal' multitimbral instrument might. Technically, you can create 24 mono tracks for the 24 L/R output channels, but there's no way to get two instruments assigned to one channel strip panned left and right independently within SD3 to hit the two sides of the output pair so SD3 is effectively limited to twelve independent stereo outputs.

I know it works when bouncing mono tracks within CbB, but maybe not when exporting clips to file. I'd have to try it.

Split mono is for separating the sides of a stereo clip/track/bus. Clearly CbB should handle this situation more gracefully, but it would seem the incompatibility of 'Split Mono' with the source being a mono clip is likely causing this error. Changing the Pan Law to one of the -3dB center options should get you what you want.

Punch muting is applied at the moment recording is started. Comp Recording doesn't do its thing until the transport is stopped because the length of the take isn't defined until that moment. It's possible for a clip to be 'double-muted' by both region muting of Mute Previous Takes and full clip muting used in Comp Recording. That's just what happens when you combine Punch and Comp recording as described. It doesn't really make sense to do that in most cases which is probably why the documentation doesn't address it in one place, but it follows logically from the way the two features work independently. Yes, it can be confusing. Such is the nature of highly complex, powerful and flexible software.

Working as designed. CbB trusts your judgement that if you didn't set the punch range to encompass the whole previous take that you don't want the whole take muted, and uses region muting to mute only the part of the clip inside the punch range.

That's a reasonable way of thinking about it except that MIDI track meters in CW are always metering the output regardless of the arming state. So anything coming out of the track should register in the meter regardless of the source.

Hmmm, yes, forgot to mention that one. I've never personally encountered it because one of my guiding principles is "Just say no to 3rd-party MIDI". ;^)

Care to share an example project? Might be the easiest way to confirm whether the problem is in the project or your Dim Pro installation has broken.

Yes, there are many instruments out there that work one day and not the next. ;^) But, seriously, I am not aware of any particular issues with Dim Pro and would suggest you stick with it for the things it does well and troubleshoot the problem. The most commons problems I run into with Dim Pro (and other instruments for that matter) are: - No patch loaded. - MIDI volume is zeroed. - Playing outside an instrument's note range. - Playing staccato notes on an instrument with a slow attack. But if the Synth/Instrument track meter is showing output, it's probably not a synth problem.

That's why it hasn't been updated.... not worth the effort for the handful of Neanderthals still using it. ;^) Personally I like the warm fuzzy feeling I get when I am suddenly transported back to 1990 by some long forgotten corner of the UI.

- Snap the Now time to the the start of measure = Current Tempo + 1, - Shift+M to open the Set Measure/Beat At Now dialog. - Enter. Target Tempo + 1 as the Measure, Beat 1, and OK. CbB will change the initial tempo and adjust the start times and durations so the playback timing is unchanged. Note that it will also insert the new tempo at the Measure that you Set which you might want to delete just tp prevent any future confusion if you decide to make other tempo changes later.

This sounds like an SNL ad spoof... "Remember how much you loved that old upright piano you inherited from grandma? It hadn't been tuned since the Wilson administration, the keytops were the color and condition a chain-smoking vagrant' s fingernails, and the sustain pedal sounded like a coffin being opened in a horror movie, but you somehow managed to learn all the Bach Preludes on it! Well, we found that piano abandoned in the alley behind the Mic Stand Bar and Grill in beautiful downtown Huntingdon, TN, drained the water, evicted the rats and spent a full afternoon sampling every 4th key at two velocities in mono using the microphone from a 1971 Realistic cassette recorder to produce this faithful replica of you childhood piano!"

I guess I misconstrued "These Midi Files play fine using any Midi Player" to be suggesting the files were meant to be GM-compatible. But I was wondering how the 'Style' commands would be expected to work with non-Korg instrument - maybe just ignored...? Related to that, and User 905133's comment about Roland Intelligent Arrangers, when I first got my RD-700NX I recall spending some time modifying an INS file to support it's 'Live Sets' implementation of multitimbral instrument assignments. This was mostly a learning exercise, and I didn't ultimately make much use of it, but it did work. I'm still not clear on what's in the MIDI files that's not being handled as expected or what the result of that mishandling is, but it sounds like some customization of the INS file might be needed.

I haven't concerned myself with Cakewalk's handling of GM files for a couple decades, but... what's the specific unexpected/undesired result? Are you using an Instrument Definition with the Korg? If you assign the output of the track(s) to TTS-1 or an onboard 'Wavetable' synth does the project play as expected?

I did the opposite: Rolled back to 22.02 and could not replicate the issue in a new project. I neglected to save the broken project from the EA, but would not be surprised the issue might persist when a broken project is opened in an older release. It seems the state of the last take lane in a MIDI track driving a soft synth is somehow corrupted on creation in the 22.06 EA.

Confirmed there is an issue with lane soloing in the EA. What I'm seeing is that neither the lane Solo or Mute buttons are functioning for the most recent MIDI take lane when the output is assigned to a soft synth. Tracks that output to physical MIDI ports seem to be working okay. I'm surprised I did not notice this in 22.02. I'll have to roll back and check. I'm fairly confident this was working as expected in earlier releases. As for the Staff View, it does not have the Hide Muted Clips option that you can use as a workaround in the PRV to see only one take. I believe this has been requested previously. I have also requested that the feature honor muting take lanes as well as clips which would help a lot.

CbB has no way of knowing that an external audio input is from the same synth that's receiving the MIDI or how MIDI inputs are related to audio outputs within a hardware synth so there's no way for it to know which audio track(s) to mute when a given MIDI track is muted. You can get this behavior by grouping the track mutes, but I generally recommend muting only audio rather than MIDI. That way when you unmute/mute the audio, the output of a MIDI-driven synth comes and goes immediately like a regular audio track without missed note-ons or pedal-ups, etc. because the synth is still rendering the MIDI.